In “Paths to Land” by Carla Andrade (previously featured here), the artist captures images of pervasive asphalt and winding roads in a variety of rural settings. Though the photographs presented are elusive—as the destination is never clear—Andrade’s work alludes to the path of life and humanity’s own uncertainty of the future. On her website, Andrade explains her work in her artist statement:
About roads and landscapes. Cosmology of recognizable and new elements. Roads are shown as new metaphors, as new grounds to conquer. In this ontological research of “way”, I’m interested in the idea of way as “origin”. An element that guides and avoid to go adrift, but we can only control one part of it, its end is always unpredictable. The road shows what is going to be, or what hasn’t still become. It’s a mystery in itself. Like this, path as humans fundamental “ignorance” has a deep symbolic meaning, we all seek to know and also to dream about what isn’t known. Another key idea is the road as a “means” for men to go through the nature. Way of domination of landscape, piercing and cutting it. Men, as a microcosm, need to create artificial pathways to allow them to move through the natural world. Faced with a powerful nature, the human being needs a shelter; they need the artificial to catch the natural. (via)
The Spanish organization, Aid to Children and Adolescents at Risk (ANAR) created a street campaign targeted toward abused children. Using lenticular printing, the poster has two messages that can only be viewed at certain heights. Anyone over 4’ 5” sees an image of a boy and the text, “Sometimes, child abuse is only visible to the child suffering it.” For shorter individuals (particularly children) the boy’s face appears beaten and the caption changes to, “If somebody hurts you, phone us and we’ll help you.” Even if an abused child and their abuser are walking together, the message is securely sent to the child without alerting the abuser. Clever and effective advertising. (via)
Jean Yves Lemoigne's “Portraits” are subtle visual photo loops. Men and women blink, stir tea, shift their eyes—the simplicity of their actions offering a kind of calm serenity to each portrait. In the digital age, I am not surprised to find photographers integrating video in to their work (or visa versa), and I must admit it is refreshing to find that traditional photographic portraiture can offer a bit of movement—beyond compositional flow—without emulating the pure aesthetics of video art.
Camila Sitarama Carlow pays homage to the nature of our bodies by literally constructing 13 human organs out of wild plants and weeds. The work is intended to invite viewers to see their body parts in a new light—as singular living, breathing, growing, organisms. (via)
While on a trip to a public beach, photographer Tadao Cern found himself submerged in a wave of inspiration. Titilated by his latest idea, Cern promptly left the beach and returned week later with photo gear in tow. He photographed oblivious vacationers deep in sleep, their belongings strewn about and midsections exposed. Cern aptly titled his series, “Comfort Zone” in the hopes of drawing attention to the unabashed behavior of men and women on the beach, as opposed to their conservative natures off the seashore. On his Behance, Cern explained, “During our everyday life we attempt to hide our deficiencies, both physical and psychological. However, once we find ourselves on a beach – we forget about everything and start acting in an absolutely different manner.” (via)
Stills from The Shoes “Time to Dance,” directed by Daniel Wolfe, starring Jake Gyllenhaal. Watch the music video here
"Polaroids" by Stephanie Nicole Lane (more here).
On her website, Stephanie Nicole Lane describes herself as an “ex-painter who finds solace in the depths of the darkroom.” Though she no longer paints, its clear that her experience with traditional mediums has had an effect on Lane’s photography. Most photographers have difficulty capturing texture in their work, yet Lane seems to have an aptitude for tactile imagery. Her work, particularly “You were Asleep by the Time I Found You” and “Polaroids,” reflect non-traditional photographic aesthetics: bubbles, ripples, line, circular compositions, abstract shapes, and inconsistent coloring. Lane, who focuses primarily on alternative processes, gives a refreshing lift to conventional photography.